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Anime Backed by Miyu and Yoasobi’s Maestro

“The Final Blossom” by Baku Kinoshita captivates audiences with its profound sense of melancholy. This unique anime feature is currently competing at this year’s Annecy Animation Festival, generating significant buzz among animation enthusiasts and critics alike.

Kinoshita’s remarkable directorial debut unfolds the poignant tale of Minoru Akutsu, a former yakuza who finds himself spending his final days alone in a prison cell, serving a life sentence. His sole companion is a whimsical potted balsam flower. In a creative twist on this dark narrative, the flower engages in conversation with Akutsu, prompting him to recount the story of his life before imprisonment. Through expressive animation, the flower embodies a lively personality, probing Akutsu about his life choices, almost like a manifestation of his own guilt and conscience.

Variety had the opportunity to speak with Kinoshita about the transformative experience of crafting his first feature after its screening at the prestigious festival.

When “Odd Taxi” was released, many viewers compared it to the works of Martin Scorsese. What character-driven dramas inspired you for “The Final Blossom”?

Absolutely, I admire Scorsese’s storytelling and Takeshi Kitano has significantly influenced my work. When creating this film, I drew inspiration from Kitano’s unique perspective on human experiences and the way he constructs his narratives. In Kitano’s films, you might witness a serene blue sky and vibrant greenery, while simultaneously, a dark reality unfolds behind the scenes. This juxtaposition creates a raw sense of authenticity that resonates deeply with audiences, showing that life continues regardless of the circumstances.

Your story is undeniably sorrowful. What motivated you to tell it?

I have always been fascinated by the concept of liberation from psychological constraints. This theme resonates in both “Odd Taxi” and “The Final Blossom.” Collaborating with screenwriter allowed me to explore this idea in depth.

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While the film centers around a yakuza, the essence of the narrative delves into the life of an individual who has strayed from societal norms. Although his identity is tied to the yakuza, my focus was to illuminate his personal experiences, relationships with family, and his individual interests, painting a broader picture of his existence.

The animation style is quite understated; much of the film features stillness, yet the character of the animated balsam flower is vibrant and full of life. What inspired you to create such a contrasting character?

I envisioned the flower as the antithesis of Akutsu’s character. I believed it would create a beautiful contrast by establishing a stark divide between their personalities. While Akutsu is static and introspective, the flower exudes humor and adaptability, showcasing a sense of freedom and liveliness.

The more animated and flexible I made the flower, the more pronounced Akutsu’s characteristics became, allowing for a deeper exploration of both characters. Consequently, it was essential to cultivate the film’s atmosphere by rendering the flower as a highly dynamic entity.

Reflecting on the atmosphere you created, during your work-in-progress session last year, you mentioned the film explores the rhythm of “stillness, motion, and stillness.” Can you elaborate on the crucial techniques you employed to achieve this rhythm?

I believe that the rhythm is instinctual. After a particularly quiet scene, I often introduce a sudden burst of motion without any transitional elements. This deliberate choice—to juxtapose moments of silence with sudden action—serves to engage the audience, preventing any feelings of boredom. This technique, while instinctive for me, is vital for maintaining the film’s overall rhythm and pacing.

Shifting focus slightly, what were the most significant challenges you faced transitioning from directing a series to directing a feature film?

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A feature film is inherently shorter, which allows for a concentrated focus on each shot. This concentrated effort makes the process feel meaningful, as I can invest significant energy into enhancing the quality of the work I’m creating, resulting in a more cohesive final product.

Was there a particular moment during the production of “The Final Blossom” that highlighted this realization?

Throughout the creation of this film, I meticulously reviewed every single frame, including all background art and character animations. This level of scrutiny allowed me to achieve a different caliber of detail and quality in the final product, emphasizing how much more I could invest in a feature film compared to a series.

“The Final Blossom” stands out as a grounded and authentic piece. In the realm of animation, creating a genuine drama can be challenging, especially one that is understated and grounded in reality.

I consider myself fortunate to have the opportunity to create such a unique and authentic animated film. Creating animation that diverges from traditional Japanese norms has always been my aspiration. I felt this project allowed me to explore that vision, and I believed there was an audience out there eager to experience this type of storytelling.

Returning to your filmmaking process, you previously mentioned drawing inspiration from 1980s anime in terms of tonal sequences. Could you discuss how you approached this aspect?

For instance, I utilized vibrant, primary colors in the background art. I aimed to minimize reliance on digital effects, opting instead for traditional color schemes reminiscent of classic films like “Lilo and Stitch,” which effectively employs bold colors to convey emotion and atmosphere.

This artistic approach seems to suggest a desire for restraint in your methods. Did you find it challenging to resist the urge to add more elements?

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It is indeed challenging for me to avoid overcomplicating things. My philosophy is to create the most beautiful work possible within my capabilities, without extending beyond my limits.

However, I did receive feedback from my team regarding my tendency to make changes mid-process. For example, as I refined Akutsu’s facial design, I found that it evolved naturally, prompting me to revisit earlier sketches and propose adjustments to align with the new vision.

Considering the deeply personal themes in this film, what do you hope audiences take away from the experience?

The central theme revolves around the notion of liberation from emotional constraints. To put it simply, it’s about change, and I believe in the inherent value of personal transformation. For instance, if a shy boy at school manages to say “hello” one day, that represents change. This concept emphasizes the potential for profound richness in everyone’s life experiences.

Even the smallest steps toward change matter.

Regardless of how minor the change may seem, I believe it is beautiful and holds significant worth.

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Sarah Parker is a research analyst and content contributor with a strong interest in business strategy, organizational behavior, and social development. With a background in sociology and public policy, she focuses on exploring the intersection between research and real-world application. Sarah regularly contributes articles that bridge academic insights and practical relevance, aiming to foster critical thinking and innovation across sectors.